Magical Moment Photos

TOMMY BOLIN JAMMING IN THE CREEK ON MT. TAMALPAIS. PHOTO/ART BY BEN UPHAM.

TOMMY BOLIN- “WHIPS & ROSES” (2006) (REVIEWS)

#1-
“Finally the World Can Hear Him”
By Joe (Denver, CO)
April 27, 2006

This is a remarkable (and completely authorized) compilation. Every track is nothing short of a masterpiece. No release has ever done a better job of demonstrating what Tommy was capable of a musician and we should all be grateful that these recordings were discovered and presented here in the finest form.
Some songs are familiar, although very fresh and taken from different versions not heard quite like this before. “Teaser”, “Wild Dogs”, “Savannah Woman” and “Dreamer” all make stunning appearances showing Tommy in top form as both a singer and a guitarist. “Marching Powder”, one of Tommy’s trademark instrumental jams is featured here with bursts of guitar magic that will knock you off your feet. A new mix of “Crazed Fandango” (titled here as simply “Fandango”) is sure to have jaw-dropping effects on any listener.
But it’s the new songs, the songs we’ve never heard before, that will prove what a legendary player Tommy should be. A rough jam called “Cookoo” finds Tommy leading the way through heavy jazz/rock territory with lightning speed and fierce energy. Tommy seems to lay down the most intricate and beautiful guitar lines with effortless precision. And “Cookoo” is only a taste of the energy to come.
With “Flyin’ Fingers”, Tommy casts the rules aside and blazes through the 16 minute jam picking up every style you could imagine along the way. He uses elements of rock and jazz and Latin rhythms as stepping stones, blending them all into a style all very much his own before leaping into something new. By this point it is more than obvious how much Tommy’s genius has been ignored by history almost entirely. His sheer virtuosity is immeasurable and “Flyin’ Fingers” is proof of just that.
Rounding out the amazing set on Whips and Roses are two live tracks capturing Tommy in his best setting. “Just Don’t Fall Down” is a song from his most undocumented and underrated band Energy. Generally known as “Hok-a-Hey”, this track is Tommy’s playground, as he leads the band around mind-bending grooves, wrapping the monstrous riff around his own unmistakable style.
On “Blowin’ Your Cookies”, Tommy does just that. This track is taken from a jam with a hotel band at the Seven Seas Lounge in Miami just one night before his untimely death. It’s sad to imagine that night when you hear how remarkable his playing is. Tommy was in perfect form and his presence on this jam is felt very deeply. It is a fitting end to this amazing compilation, and an even better showing of what this master guitarist was capable of.
Tommy Bolin was one of the greatest guitarists to ever pick up the instrument. His playing is sadly forgotten, but if the world hears Whips and Roses, then he will surely be recognized for his genius. The world lost an incredible artist when Tommy died, and it would be a disgrace to music itself if he continues to go unnoticed. Listen to Whips and Roses and you will understand how profound his playing was. If you know who Tommy is, then you will be blown away by these rare gems now unearthed for all to hear. If you do no know Tommy, then do not continue to ignore some of the finest music you will ever have the chance to hear.

#2-
“Smokin’!!!!!!!!!!!”
By Vincent Sciglio (Putnam, NY USA)
May 23, 2006

Tommy Bolin is undoubtedly the most underrated and forgotten guitar hero of all time. Nobody covered the scope of guitar playing better than Tommy as he effortlessly shifted gears from rock to jazz to blues to funk to reggae not only within an album, but within a single track. This CD showcases many of Tommy’s guitar stylings in a new light, bringing them sonically into today’s standards. I have been listening to Tommy for 20 years and own all of his studio releases as well as all of the Tommy Bolin Archives releases and this is the best quality yet. As other reviewers have stated, this material isn’t new but the versions presented here are stellar. Tommy was a master at jamming and some of his best work is captured on this CD. I have been turning people on to Tommy for years and they are blown away when they hear his playing. This CD will serve the same purpose for the younger generation today who have never heard playing of this calibur as it is non existent in today’s music scene. Tommy was a musician’s musician and was way ahead of his time, hopefully this CD will give new exposure to his timeless music. In sum, buy this CD, enjoy it and turn your friends and family onto this great musician.

#3-
“Whips and Roses for Mott’s delight”
By Kim Fletcher (Pattaya, Chonburi Thailand)
December 8, 2006

In 2006 we were given this collection ‘Whips and Roses’. The music is stunning. Tommy Bolin’s singing and guitar playing is simply jaw droppingly good. The album opens with a rockin’ version of ‘Teaser’ which fairly rocks out of your speakers whilst retaining that trademark Bolin funky backbeat. A lot of the other songs are works in progress for the Teaser album, this does not mean that they are inferior versions in fact I think every song on this album is absolutely at it’s zenith, and the title of the songs is irrelevant. Second track on the album is ‘Fandango’ which was called ‘Crazed Fandango’ when the studio version was released. ‘Cookoo’ is a jam based on the Tommy Bolin classic ‘Homeward Strut’, but boy what a jam. The version of ‘Wild Dogs on this album is the best I have ever heard, and is worth the price of the album alone. Starting with it’s downbeat vocals of a drifter on the road, before Tommy makes the six strings howl as the song builds to a shattering climax. Why this song has not been covered by other bands I do not know, but somebody like Bon Jovi could do a cracking version. There is also Jeff Cooks beautiful ballad Dreamer here. Tommy Bolin must have burnt his fingers his playing is so fast on ‘Marching Powder’. You can almost hear the sweat running down the fret board. The fifteen minutes of Flyin’ Fingers speaks for itself. The album finishes with two jam work out’s with Tommy Bolin letting the music carry him away. ‘Just Don’t Fall Down’ clocks in at nearly eleven exciting minutes, the aptly titled ‘Blowin’ Your Cookies’ was recorded the night before Tommy Bolin passed away, when Tommy got up and played with the house band at his hotel in Miami. It is a twelve minute drop into what was obviously a longer jam, but the guitar work is staggeringly good. There is no information on who played what on what track as most of these recordings have been taken from unmarked boxes, but whoever they were they were very good. The album comes with a fine booklet with some informed liner notes by Simon Robinson. The production was handled by Greg Hampton in association with Tommy Bolin’s brother John. The work they have done should be applauded, a second volume of ‘Whips and Roses’ is promised for early 2007, I personally will look forward to that.

#4-
“In a word – Brilliant!”
By B. Worth
May 2, 2006

This CD has been long anticipated and it does not disappoint. As was the case with Tommy’s two solo albums, there is something for everyone here. There a few alternate versions of songs that ended up on his Teaser album. For example, the song “Teaser” is much more aggressive than the version that ended up on the album of the same name and, in my opinion, is better for it. And there are a handful of superb in-studio jamming that will make the hair on your arms stand up. There is so much of Tommy’s guitar buzzing around these tracks that any fan of his (and/or fans of rock/jazz-rock) will be satisfied.
I have only two negative comments (and the reasons why I can’t give it a full 5 out of 5 stars): the last 2 songs are not relevant to the bulk of material contained herein. The song “Just Don’t Fall Down” is clearly Energy running through their epic instrumental “Hoka Hey” live on stage somewhere in 1972 and “Blowin’ Your Cookies” is an excerpt from Tommy’s jam with the house band at the Seven Seas Lounge in Miami, FL (a night or two before his untimely death in Dec 1976). Its all good music to have in the collection but some more detailed sleevnotes would be helpful for Bolin fanatics such as myself. Which segues nicely to my 2nd issue: the sleeve notes lack any identification of the musicians accompanying Tommy and that is a shame because whomever the uncredited persons playing the bass and drums were, they were doing a marvelous job.
Thank you to the Bolin family and everyone who has worked on this set. I can’t wait for the next installment.

#5-
“Amazing . Radical. Revelation. SUPREME GUITAR!”
By herb “nice name huh?”
April 26,2006

I don’t think it is too much of a stretch to say that this disc contains the most radical soloing ever heard from Bolin. You must buy it if you are a fan of great guitar playing. It is surprisingly like John Mclaughlin at times, yet, still totally Bolin. I thought i’d heard it all having owned all the Ebbetts field stuff, as well as the Mouzon/Cobham albums. The liner notes may be a bit lacking, but that is almost appropriate as this stuff almost seems too good to be true. There are 10 minute plus jams of pure guitar madness. How often does it happen that someone un-earths material like this.??..I am not sure it has ever happened. Yeah, never before has an artist been unveiled like this before, so long after they are gone. And this is the first of a series! Wow.

TOMMY BOLIN DISCOGRAPHY:
1975 Teaser
1976 Private Eyes
1996 From the Archives, Vol. 1
1997 The Bottom Shelf
1998 From the Archives, Vol. 2
1999 Energy
1999 Snapshot
2000 Naked
2002 Naked II
2004 After Hours: The Glen Holly Jams – Volume 1
2006 Whips and Roses
2006 Whips and Roses II
2011 Teaser Deluxe

Live:
1997 Live at Ebbets Field 1974
1997 Live at Ebbets Field 1976
1997 Live at Northern Lights Recording Studio
1998 The Energy Radio Broadcasts
2000 First Time Live
2001 Live 9/19/76
2002 Live in Miami at Jai Alai: The Final Show
2003 Alive on Long Island
2003 Tommy Bolin and Energy Live
2004 Albany 9/20/76
2004 Live at the Jet Bar
1969 Zephyr
1971 Going Back to Colorado
1996 Live at Art’s Bar and Grill

Energy
1998 The Energy Radio Broadcasts 1972
1999 Energy (1972)
2003 Tommy Bolin & Energy, Live in Boulder / Sioux City 1972

James Gang:
1973 Bang
1974 Miami

Billy Cobham:
1973 Spectrum
2002 The Spectrum Sessions

Alphonse Mouzon:
1975 Mind Transplant
1999 Tommy Bolin & Alphonse Mouzon Fusion Jam (Rehearsals 1974)

Moxy
1975 Moxy

Deep Purple:
Come Taste the Band (1975)
1977 Last Concert in Japan
1995 King Biscuit Flower Hour Presents: Deep Purple in Concert
1995 On the Wings of a Russian Foxbat – Live in California ’76
2000 Days May Come and Days May Go (The California Rehearsals Volume 1)
2000 1420 Beachwood Drive (The California Rehearsals Volume 2)
2001 This Time Around

CLICK THE LINKS BELOW FOR TOMMY BOLIN PHOTOS & ART:
TOMMY BOLIN FINE ART AMERICA IMAGES BY BEN UPHAM
and
TOMMY BOLIN CONCERT PHOTOS FROM WINTERLAND BY BEN UPHAM
and
ORDER TOMMY BOLIN “WHIPS & ROSES” CD

TOY AND TOMMY CALDWELL CREATING MAGICAL MUSIC IN THE WOODS. PHOTO/ART BY BEN UPHAM.

THE MARSHALL TUCKER BAND-
“A NEW LIFE” (1974)
Reviews and Comments about an Amazing Album!

Songs:
1-”A New Life” (Toy Caldwell) – 6:44
2-”Southern Woman” (Toy Caldwell) – 7:55
3-”Blue Ridge Mountain Sky” (Toy Caldwell) – 3:37
4-”Too Stubborn” (Toy Caldwell) – 3:58
5-”Another Cruel Love” (Toy Caldwell) – 3:58
6-”You Ain’t Foolin’ Me” (Toy Caldwell) – 7:03
7-”24 Hours at a Time” (Toy Caldwell) – 5:04
8-”Fly Eagle Fly” (Toy Caldwell) – 4:25

Musician Credits:
Toy Caldwell – guitar, steel guitar, slide guitar, vocals
Tommy Caldwell – bass, vocals
Doug Gray – guitar, percussion, lead vocals
George McCorkle – guitar, banjo
Paul Riddle – drums
Jerry Eubanks – flute, saxophone, keyboards, vocals
With:
Paul Hornsby – keyboards
Charlie Daniels – fiddle
Jaimoe – conga, conductor
Earl Ford – horn
Oscar Jackson – horn
Todd Logan – horn
Harold Williams – horn
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Review #1-
“A New Life is a Great Life”
By B. E Jackson (Pennsylvania)
June 14, 2011

The album cover perfectly sums up what to expect. A horse walking down a path on a high mountaintop and looking down at a few small homes in the fields, with a beautiful and colorful image of distant mountains in the background. It’s not only a fantastic cover to analyze, but there may actually be a few ways to interpret it, too.
Such as… maybe the horse riding high in the mountains is an indication of the bands quick rise to stardom? Or maybe I’m thinking about it too hard and the album cover simply illustrates the beauty and colorful creativity that can be heard in the music.

A New Life is a minor masterpiece and REALLY shows just how much further the Marshall Tucker Band were willing to push the boundaries as far as how far the southern rock formula can go. This album is a drastic step forward from their self-titled debut in terms of songwriting and instrumental variety.
“You Ain’t Foolin’ Me” has a very good verse melody and chorus, but that’s not *quite* what makes this song stand out so drastically. It’s shortly after the 2 minute mark when the song REALLY takes off and confirms (to me, at least) that the Marshall Tucker Band are the real deal. The saxophone solo is incredibly melodic and perhaps this is a total coincidence, but the first few lines of the sax solo totally remind me of a Roxy Music song from their debut released back in 1972. From here, well, images of the album cover noticeably come to mind as the saxophone takes a sudden departure and a dreamy guitar solo elevates the greatness of the song to even higher heights. This instrumental middle section resembles *no* other southern rock band. Not the Allman Brothers Band or Lynyrd Skynyrd. It’s completely unique.
If you enjoy the instrumental creativity in “You Ain’t Foolin’ Me” be prepared to have your socks totally knocked off upon experiencing “Southern Woman”. What starts off as a highly memorable vocal melody suddenly (eventually- 3 minutes later) sends me into total, unexpected shock as a straight up saxophone solo makes a VERY surprising appearance. Unlike in the song I mention above, this particular sax jam actually *jams* for a minute or so, and it sounds completely different from anything any other southern band had ever attempted, before or since. It’s flat out awesome. Perhaps it’s inspired by Van Morrison’s “Moondance” a little bit, but it’s certainly no ripoff or anything.
The title song brings me to tears, seriously. I actually cried the first time I heard it… alright make that the second time (because I wasn’t paying attention to it the first time, for some clueless reason on my part!) The verse melody is another quality piece of writing, the lyrics are touching and meaningful, but it’s the flute jam and the gradual morph into an electric guitar jam that BLOWS MY EMOTIONS COMPLETELY AWAY! There’s quite a few moments of this song that move me emotionally, but the jam takes the cake.
“24 Hours at a Time” is *another* fantastic highlight. I can’t exactly explain why, though. It’s a fairly fast-paced country rocker, but… there’s something special about it that makes it stand apart from the crowd. I think it’s the line “Woman you’re always on my mind, 24 hours at a time, somehow woman I’m hoping you feel the same” that really makes it attractive. Or perhaps the tasteful guitar jam at the end which immediately makes me think of a happy place is the reason for its ability to give me especially strong positive feelings, I don’t know.
“Fly Eagle Fly” ends the album on a fairly quiet note with a softly written track. It contains innocent lyrics and an attractive vocal melody, and not much else. Honestly it doesn’t need anything else.
I really hope you pick up what I consider a masterpiece in southern rock. I’ve had people tell over the years how much they dislike the southern rock genre. It’s honestly nearly impossible to hate THIS album, in my opinion. The arrangements are constantly beautiful and always played tastefully, and the amount of sincerity in both the vocal melodies and the lyrics is simply hard to ignore. Find a way to hear this album.

Review #2-
“A New Life”
By K. Carstens (Iowa)
May 27, 2006

I believe that this album, along with “Eat A Peach” by the Allman Brother Band, are the essential “Southern Rock Albums”. Tuckers sophomore album captures the spirit of the early 70s southern rock movement better than any other album. From the jazzy Southern Woman to the incredible Another Cruel Love, Toy Caldwell’s songwriting was never better. You Ain’t Foolin’ Me might be the purest “anthem” song that Marshall Tucker was so famous for in concert. The best album by maybe the most underrated live band ever.

Review #3-
By Thom Jurek
Perhaps the only reason that New Life isn’t quite as memorable as its self-titled predecessor is that the band’s debut was just so startling when it appeared. By the time New Life was issued in 1974, to the band’s credit, it seemed like the Marshall Tucker Band sound had always been a part of America’s rock & roll scene. New Life is earthier than the first album, and country music is less layered over by the trappings of jam-band rock. “Blue Ridge Mountain Sky” is only eclipsed by Dickey Betts’ “Ramblin’ Man” as the ultimate road song from the period. Likewise, the pedal steel blues of “Too Stubborn” echo an earlier era altogether, as the ghost of Bob Wills comes into Toy Caldwell’s songwriting. The whining guitars and lilting woodwinds of the title track bring the jazzier elements in the band’s sound to the fore and wind them seamlessly into a swirling, pastoral country music. The Muscle Shoals horns lend a hand on the Allman Brothers’ Brothers and Sisters-influenced “Another Cruel Love,” and guest Charlie Daniels’ fiddle cooks up a bluegrass stew on “24 Hours at a Time.” The sound is fantastically balanced and warm, and like its predecessor, this album has dated very well.

Review #4-
“Commercial success does not always equal the best”
By The Plunkster (Fairfield, OH United States)
January 5, 2005

OK. I realize people will disagree with me on this, and that’s fine. I have worked as a DJ for 35 years now, listened to a lot of music, and hopefully formed a lot of opinions.
In my opinion, “A New Life” is far and away the best release ever from The Marshall Tucker Band. So this isn’t the stuff you’re used to hearing on the radio. That doesn’t mean it is not their best stuff. This may just be the perfect Southern rock album. Put this thing on, and believe me you are IN the Blue Ridge Mountains, just soakin’ it up.
An incredible release. A must for Tucker fans.

Review #5-
“But I paid my time, and a new life is gonna be mine…”
By Eric S. Kim (Southern California)
April 1, 2011

The Marshall Tucker Band scores another big one. I wouldn’t necessarily call “A New Life” a perfect album, but it’s an excellent one nonetheless. The songs are pure gold: they can eclipse most mainstream songs that are released in the new millennium. “A New Life” and “Southern Woman” are constant reminders of why Marshall Tucker is one of those bands that just dominates the world of Southern Rock. “Blue Ridge Mountain Sky” sounds slightly generic, but it’s still a great song overall. “Too Stubborn” has a few fusions of reggae (a music genre that I strongly detest), but it’s not really that bad, anyway. “Another Cruel Love” and “You Ain’t Foolin’ Me” are brilliant beyond belief, while “24 Hours at a Time” is fun and catchy. “Fly Eagle Fly” makes for a splendid closer for the album.
I really enjoy their self-titled debut album, and I’ve enjoyed this one just as much. This one could easily stomp on today’s mainstream junk. I’m so glad that I’ve stumbled upon Marshall Tucker a few months ago.

MARSHALL TUCKER BAND DISCOGRAPHY:
1973 The Marshall Tucker Band
1974 A New Life
1974 Where we All Belong
1975 Searchin’ For A Rainbow
1976 Long Hard Ride
1977 Carolina Dreams
1978 Together Forever
1979 Runnin’ Like The Wind
1980 Tenth
1981 Dedicated
1982 Tuckerized
1983 Just Us
1983 Greetings From South Carolina
2003 Stompin’ Room Only (1976 Live)
2006 Live on Long Island 4-18-80
2008 Carolina Dreams Tour 1977

TOY CALDWELL DISCOGRAPHY:
1992 Toy Caldwell
1998 Can’t You See (Live)
2000 Son of the South

CLICK THE LINKS BELOW FOR MARSHALL TUCKER BAND PHOTOS AND ARTWORK:
MARSHALL TUCKER BAND PHOTOS BY BEN UPHAM
AND
MARSHALL TUCKER BAND ART BY BEN UPHAM
AND
MARSHALL TUCKER BAND FINE ART AMERICA IMAGES BY BEN UPHAM
AND
PURCHASE MARSHALL TUCKER BAND “A NEW LIFE” REMASTERED CD

An Ad for a Mahogany Rush Concert in Seattle in April, 1978. Judas Priest cancled.

MAHOGANY RUSH -
“CONCERT REVIEW”
BY ANDY MELLEN
WINNIPEG FREE PRESS
WINNIPEG, MANITOBA, CANADA
SEPTEMBER 29, 1976

It’s always a pleasure to come across a Canadian group aspiring to international stardom. It’s even better when one encounters an act which possesses the ability to achieve such a lofty goal.
There are times, however, when I’m more than a trifle puzzled by the methods a group employs. A good case in point is my recent encounter with Frank Marino, founder and leader of a Montreal-based power trio called Mahogany Rush. At 21, he’s an amazingly gifted young guitarist and writer, as he has been proving the past few years on four albums.
Unfortunately, it’s doubtful whether anyone unfamiliar with Mahogany Rush’s records would have felt a great compulsion to rush out and purchase them following the group’s 35-minute set as the opening act for Nazareth’s Sept. 20 gig in the Winnipeg Arena.
Those who have heard all or most of the group’s recorded output were probably as perplexed as I was by its methodical, five-song set.
Save for the show-opening “New Rock and Roll”, Mahogany didn’t play one original song during its brief performance, a 15-minute version of Jimi Hendrix’s blues classic, Red House; an ancient blues standard called King Bee, Chuck Berry’s venerable Johnny B. Goode and an explosive rendition of the American national anthem, the Star-Spangled Banner, served up a la Jimi Hendrix with feedback and shrill, whining guitar passages.
As the group made its exit to a respectable round of applause from the 7,000 in attendance, I sat in disbelief, asking myself “Is that it?”
I was at a loss to understand how a group on the verge of earning a shot at the international spotlight with four albums of original material in its repertoire would even think about turning in the sort of set Mahogany Rush performed.
Following a 45-minute discussion with Marino, I was still having great difficulty trying to figure out this young musician. Although Marino — along with bassist Paul Harwood and drummer Jim Ayoub — still calls Montreal home, his attitude towards this country’s music scene could hardly be described as pro-Canadian. The fact that it has taken the group more than four years to play its first Western Canada dates (prior to the current tour, Mahogany’s only Canadian appearances outside of the province of Quebec were several Toronto gigs) is only one indication of Marino’s decided lack of interest in cultivating success in his native country.
Asked about the group’s show. Marino offered this explanation: “We were prepared to do our regular set tonight. Basically, that’s Dragonfly, The Answer and The Emperor off the new album (Mahogany Rush IV), a couple of things off the second and third albums and even a song, from Maxoom (the group’s three-year old debut effort).”
“After we did the first song and didn’t get any reaction, we decided to switch the set,” he said. “I can usually read a crowd, and this one just wasn’t receptive to the sort of music we play.”
Although I concurred that the group was somewhat mis-billed opening for Nazareth — a group which attracts a hardcore AM radio audience — I suggested the group’s ever-increasing following in this city came expecting to hear the group on Mahogany Rush’s albums. I won’t argue that much of Mahogany’s own music probably would have gone over the heads of many of the younger fans in attendance. But then, a 15-minute slow blues like Red House is probably just as alien to a young AM rock fan as some of the band’s spacier, jazz-tinged material.
Marino, however, expressed little regret for the group’s show. He seemed much more anxious to talk about the group’s success Stateside (the band is developing into a headliner in major centers such as Los Angeles and Chicago and is long-established in hard rock havens such as Detroit and Cleveland) and its first European tour.
Sadly, Frank Marino seems much more intent on making it in the United States and Europe than he is on satisfying his growing legion of Canadian fans.

FRANK MARINO & MAHOGANY RUSH
DISCOGRAPHY:
1973 Maxoom
1974 Child of the Novelty
1975 Strange Universe
1976 IV
1977 World Anthem
1978 Live
1979 Tales of the Unexpected
1980 What’s Next
1981 The Power of Rock ‘N’ Roll
1982 Juggernaut
1986 Full Circle
1988 Double Live
1990 From the Hip
1997 Dragonfly (Best of)
2000 Eye of the Storm
2004 Real Live

CLICK THE LINKS BELOW TO SEE MAHOGANY RUSH PHOTOS AND ARTWORK:
MAHOGANY RUSH FINE ART AMERICA IMAGES BY BEN UPHAM
AND
MAHOGANY RUSH ART BY BEN UPHAM
AND
MAHOGANY RUSH IN MISSOULA, MONTANA 1979 PHOTOS BY BEN UPHAM
AND
MAHOGANY RUSH PHOTOS BY BEN UPHAM

TOY CALDWELL OF THE MARSHALL TUCKER BAND JAMMING IN THE WOODS. PHOTO-ART BY BEN UPHAM.

MARSHALL TUCKER BAND-
“STOMPIN’ ROOM ONLY”
UNRELEASED 1976 LIVE ALBUM
RELEASED ON CD IN 2003
A BUNCH OF REVIEWS

FINALLY! THANK YOU MUSIC GODS!, December 2, 2003
By A Customer
This review is from: Stompin’ Room Only (Unreleased Live Recording) (Audio CD)
This CD is a must have for Tucker Boys fans or “southern rock” fans in general. To me the highlight is “Blue Ridge Mountain Sky”, which includes a 3-minute plus solo by thumb-picking master Toy Caldwell. Long-time fans will really appreciate that song plus outstanding versions of “This Ol’ Cowboy”, “Searchin’ For A Rainbow” and “Hillbilly Band”.
On a down note, I am not quite sure why they had to include two songs already released from a July ’74 show in Milwaukee. But…what the hell.
One thing you can definitely feel is the driving force of Tommy Caldwell in most of the songs. You can feel his bass, plus on many songs he enthusiastically sings harmony with Doug Gray in the chorus. Now, Tommy (along with Toy) was not the BEST singer, but he sure seemed to enjoy what he was doing.
I am not sure if the reviewer who gave this 1 star actually has heard this CD, but please do not let him/her dissuade you. I am a fan of the original (and only) MTB, and I have no axe to grind. To me the band ended with Tommy’s untimely passing in 1980. Nonetheless, this is a treasure. Enjoy!
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Live Fire!, December 30, 2003
By
Lance Farley (Austin, TX United States) – See all my reviews
(REAL NAME)
This review is from: Stompin’ Room Only (Unreleased Live Recording) (Audio CD)
It’s a great thing to see all the early Marshall Tucker Band albums being remastered and re-released. Apparently, this CD is an unreleased live album with a few added tracks. The main album was recorded on two nights in England in late 1976. The added tracks are the ten-minute-plus “The Thrill Is Gone” from the 1975 Volunteer Jam (featuring guests Dickey Betts, Chuck Leavell and Charlie Daniels), and “Ramblin’” and “24 Hours At A Time” from 1974 (and previously released on “Where We All Belong”). Sound quality varies on the tracks, but most of the performances are amazing. You can hear why this band was such a hot live commodity. I wish the editing between tracks was better; that would give more of a semblance of a real live show. Still it’s great, just having this stuff……….
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FINALLY!!, November 10, 2003
By
Thomas Clark (Makawao, Hi. USA) – See all my reviews
This review is from: Stompin’ Room Only (Unreleased Live Recording) (Audio CD)
Been waiting for this…forever…the original line up…live…tearing it up. Nobody played like Toy Caldwell. One of the best live bands I ever had the good fortune to see. Recorded mainly on their one and only European Tour in 76…this CD grabs you by the throat and doesn’t let go. Ramblin’ and 24 Hours are the same from the Where We All Belong album but no matter…this one is a keeper….advice? Play it LOUD!
You can have fun I’m telling you can…when you stomp your feet to a hillbilly band!
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Real Southern Rock !!, January 25, 2004
By
“clems97″ (Laurens, SC United States) – See all my reviews
This review is from: Stompin’ Room Only (Unreleased Live Recording) (Audio CD)
Marshall Tucker Band – Stompin’ Room Only (Ramblin’ Records, 2003)
CD Review by: Joe (Skydog) Clem of Skydog Music

1. Long Hard Ride
2. This Ol Cowboy
3. Fire on the Mountain
4. Searchin’ For a Rainbow
5. Take the Highway
6. Can’t You See
7. Blue Ridge Mountain Sky
8. The Thrill Is Gone (Jimmy Hall & Guests)
9. Ramblin’
10. 24 Hours (Charlie Daniels on fiddle)
11. Hillbilly Band

Deja vu …All of a sudden I’m back in the South of 1976. The ol’ Skydog was a Senior in high school. Back in those days, and I guess it still is today, everybody had their little cliques. Some were the “disco ducks”… you know, polyester pants and the whole bit. Listened to the mindless dance music that was beginning to take over; drum machines and synthesizers were replacing musical talent and feeling. Then there were the “Metal Heads”, the ones with the Led Zep shirts and the dark attitudes. Over in another corner were the “good ol’ boys”…we’d discovered a new type music (or so we thought) coming from of a bunch of bands from right around us. No English accents, no weird clothes or even weirder haircuts. Folks just like us. Jeans and cowboy hats and boots…and we could actually understand what they were saying ! It all just felt right…Southern pride was on the rise…Charlie Daniels said the “South’s Gonna Do It Again” and , by God, we believed him !!
Spartanburg, and the whole state of South Carolina for that matter, had a treasure called the Marshall Tucker Band…everybody tried to figure out which one of them was Marshall Tucker, but we sure did dig the music ! Absolutely killer guitar lines and a singer who really had a southern accent. This was “our music.” Find a convenience store that wouldn’t card you, buy up a few six-packs, find a hay field way out in the country…and it was party time !
When I put “Stompin’ Room Only ” into the CD player…see, even us good ol’ boys have joined the modern age, it was `76 all over again. It’s hard to believe the tapes have sat somewhere all these years…ought to be a crime, in my humble opinion. Probably a Yankee conspiracy !
All the classic MTB songs are here. Mostly recorded during a European tour in the mid-70′s, SRO catches the Tucker boys in their prime, before the tragic loss of both Tommy and Toy Caldwell. “Can’t You See” brings back the sweet guitar lines of lost loved ones like Toy and Tommy. “Take The Highway” and “24 Hours At A Time”, just to name a couple, have that fire and drive that is so lacking in today’s music. And Doug Gray still makes you hurt when he hits the high notes on “The Thrill Is Gone”(from the 1975 Volunteer Jam)…damn, that musta’ stung…probably scarred him for life !
This is not the Marshall Tucker Band of today, except for vocalist Doug Gray. These songs were recorded when Southern Rock was at it’s zenith…new and fresh and strong. Each and every one should stand as a benchmark for any band who wants to call themselves “Southern” rock. You can almost see Toy and Tommy grinnin’ at each other across the stage.
In summary, GET THIS CD…if you ever jammed on the radio to the MTB, ever fortunate enough to see them live, or just don’t feel the fire when you listen to the latest media favorite…this is your salvation !
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“Wow” is an appropriate response., March 27, 2004
By
Virgil “Virgil” (Chapel Hill, NC) – See all my reviews
This review is from: Stompin’ Room Only (Unreleased Live Recording) (Audio CD)
What a find this new release of old material from the mid-70s is. There was something about that era that produced live albums for the ages; from the Allman Brothers “Live at the Fillmore East” to Hendrix “Band Of Gypsys”, Deep Purple “Live in Japan”, Rory Gallagher “Live in Europe” and of course “Frampton Comes Alive”. The 70s were a “sweet spot” in a sense. Arena rock was not yet corporate [though by the mid-late 70s it became bombastic], and in a pre-MTV world bands still toured for “face time” with their fans.

Add to these Marshall Tucker’s “Stompin’ Room Only”. The sad part is that it’s been under wraps for the last twenty five years, not available to influence a new generation of musicians or to just plain entertain the rest of us. From first to last song there is strong musicianship- always so important to Southern bands- and enthusiasm from the players. An infectious mix of southern rock, jazz, country and just plain jammin’. What a gem and what a find this music is. Highly recommended.
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Long Lost Album Finally Comes To Life!, November 19, 2003
By
Craig Cumberland (Turlock, CA United States) – See all my reviews
This review is from: Stompin’ Room Only (Unreleased Live Recording) (Audio CD)
Finally! It’s here! After over two decades of waiting, Tuckerheads are able to hear the long awaited, much anticipated, long rumored to be lost forever “Stomping Room Only”! But it was worth the wait! And the good news is that, because the original never saw the light of day on LP, it was expanded (thanks to the CD format) to include bonus cuts like the rare “The Thrill Is Gone” (from the very first Volunteer Jam album that has yet to be released on CD). It is perhaps Doug Gray’s best vocal performance ever! Other standouts are Blue Ridge Mountain Sky and This Ol Cowboy, which were sung by Toy Caldwell on the studio versions but sang live by Doug. So now we have both versions to appreciate, thanks to this new release! Tucker was one of the pioneers of the southern rock and jam band genres – and SRO exemplifies why. The folks at the Shout Factory did a great job re-mastering the music and it sounds like it was recorded yesterday. Tucker fans are sure to love this as should fans of jam music or southern rock.

Craig Cumberland
www.tuckerhead.com
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MARSHALL TUCKER BAND DISCOGRAPHY:
1973 The Marshall Tucker Band
1974 A New Life
1974 Where we All Belong
1975 Searchin’ For A Rainbow
1976 Long Hard Ride
1977 Carolina Dreams
1978 Together Forever
1979 Runnin’ Like The Wind
1980 Tenth
1981 Dedicated
1982 Tuckerized
1983 Just Us
1983 Greetings From South Carolina
2003 Stompin’ Room Only (1976 Live)
2006 Live on Long Island 4-18-80
2008 Carolina Dreams Tour 1977

TOY CALDWELL DISCOGRAPHY:
1992 Toy Caldwell
1998 Can’t You See (Live)
2000 Son of the South

CLICK THE LINKS BELOW FOR MARSHALL TUCKER BAND PHOTOS AND ART:
MARSHALL TUCKER BAND FINE ART AMERICA IMAGES BY BEN UPHAM
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MARSHALL TUCKER BAND ART BY BEN UPHAM

JERRY GARCIA PERFORMING WITH THE JERRY GARCIA BAND IN CHENEY, WA. ON 10-27-78. PHOTO-ART BY BEN UPHAM.

THE GRATEFUL DEAD-
“CLOCK TWISTS BACKWARD AS DEADHEADS BOOGIE”
BY KIM CROMPTON
SPOKANE DAILY CHRONICLE
SPOKANE, WASHINGTON
JUNE 16, 1980

The “Dead” were resurrected at the Coliseum Saturday night, but they didn’t seem nearly as grateful as the audience which came to life with them.
The Grateful Dead, one of the old­est and most unique rock and roll groups of the past two decades, treated a relatively small but enthu­siastic crowd to three full hours of enjoyable music.
The diverse group of fans who came to see the group were almost as interesting, as the band itself. ­”Flower Children,” “Hippies,” mem­bers of outlaw motorcycle gangs and other societal outcasts of the Vietnam era were there, mingling freely and comfortably with others from that generation who have since conformed to more contemporary norms.
The Coliseum lights came on dur­ing a 45-minute intermission, re­vealing a scene similar to those at Woodstock, Blue Mountain and doz­ens of other outdoor rock concerts of that period in time.
One young woman with long blond hair moved slowly through the shifting bodies on the Coliseum floor, smelling a long-stemmed ­flower while holding aloft a sign which read, “I need a ride to L.A.” Wearing a long flowered skirt, she resembled many of the other wom­en from that era who were attracted to Spokane to hear their favorite group Saturday night.
Similarly, the men were scantily clad, for the most part, wearing no shirts and shoes, and many with beards and hair that reached to the middle of their backs. The crowd, overall, contrasted sharply with the group of teen-agers and young adults which gathers for most Spokane rock concerts. Members of this audience were older, ap­pearing more content on enjoying themselves than on impressing each other.
An example was the group of fans which normally stands at the rear of the Coliseum floor. Concerts featuring rock groups which appeal to a younger clientele generally cause that area of the floor to turn into a traffic zone with adolescents milling continually back and forth looking for someone they know or someone they would like to know.
The scene was different Saturday night, however, as rockers from the ’60s and late ’70s utilized that area as a gigantic dance floor. Grateful Dead fans, overcome with musical rapture, danced all evening and most of them were dancing alone.
The band’s music gave them ample reason to boogie, as The Dead were right on target with their inter­mingling of nostalgic numbers with newer songs. Lead guitarist Jerry Garcia was excellent throughout the night and was complimented by the back-up fingerings of rhythm gui­tarist Bob Weir. They thrilled the crowd with their performances on songs like “Alabama Getaway” and “It Looks Like Rain” and with their vocals on slower songs like “Ship of
Fools.”
Drummers Billy Kreutzmann and Mickey Hart also were good and awed the crowd with a five-minute duet involving a large drum set-up at the rear of the stage. The entire crowd standing on the Coliseum floor bounced to the rhythm of most of the band’s songs, cheered loudly after each one and eventually called the group back for a single encore song, “One More Saturday Night”.
If the band were to be criticized it would be for its lack of response to the crowd. Members of the group refused to acknowledge the crowd’s applause, took long breaks between each song and acted as though they were rehearsing inside an empty hall. The fans, known as “Deadheads” didn’t seem to mind, however, as they appeared caught up in their own nostalgic rock revival.

Grateful Dead Setlist from the Spokane Coliseum show on June 14, 1980:
Set I-
Alabama Getaway
Promised Land
Friend of the Devil
El Paso
Brown Eyed Women
Me & My Uncle
Big River
Far From Me
Big Railroad Blues
Looks Like Rain
Don’t Ease Me In

Set II-
Feel Like a Stranger
Ship of Fools
Estimated Prophet
Eyes of the World
Drums/Space
Lost Sailor
Saint of Circumstance
Stella Blue
Goin’ Down the Road Feelin’ Bad
Good Lovin’
Encore: One More Saturday Night

GRATEFUL DEAD DISCOGRAPHY:
1967 The Grateful Dead
1968 Anthem of the Sun
1969 Aoxomoxoa
1969 Live dead
1970 Workingman’s Dead
1970 American Beauty
1971 Grateful Dead (Skull & Roses)
1972 Europe ’72 (Live)
1973 History of the Grateful Dead (Bear’s Choice)
1973 Wake of the Flood
1974 Grateful Dead from the Mars Hotel
1975 Blues for Allah
1976 Steal your Face (Live)
1977 Terrapin Station
1978 Shakedown Street
1980 Go to Heaven
1981 Reckoning (Acoustic Live)
1981 Dead Set (Electric Live)
1987 In the Dark
1989 Dylan & the Dead
1989 Built to Last
1990 Without a Net (Live)

CLICK THE LINKS BELOW FOR GRATEFUL DEAD PHOTOS & ART:
GRATEFUL DEAD PHOTOS BY BEN UPHAM
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GRATEFUL DEAD ART BY BEN UPHAM
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GRATEFUL DEAD FINE ART AMERICA IMAGES BY BEN UPHAM

BILLY JONES OF THE OUTLAWS AT WINTERLAND ON MARCH 6, 1976. PHOTO/ART BY BEN UPHAM.

THE OUTLAWS-
“COMING ON STRONG”
BY J.J. SYRJA
THE SEQUIN GAZETTE ENTERPRIZE
SEQUIN, TEXAS
FEBRUARY 28, 1980

Counted out long ago from these quarters, the Outlaws debuted in 1975 with promise. If the vocals were just adequate, there was reason to believe they would improve, while the material, from the AM radio hit “There Goes Another Love Song” to “Green Grass and High Tides,” an FM killer, was more than accomplished.
Since that time, the Outlaws have been little more than an energetic sextet without A-1 songs or singers. Their guitar firepower has kept them in the ballgame, which tells one where America’s head is at these days. The group’s new LP, “In The Eye of the Storm” (Arista), then, takes steps to dent more than just the eardrums, and with success.
One major accomplishment is looking for songs from outside sources. “The Lights Are On (But Nobody’s Home)” is pushed across by a solid plot, strong harmonics, and a crying guitar line which echoes frustration over and over. Elvis Costello’s” Miracle Man” (an excellent choice) is given pounding, melodic treatment — there’s no doubting the Outlaws’ instrumental prowess, and it grows when they have something to work with.
“Comin’ Home.” a fine Billy Jones shuffle, and “(Come on) Dance With Me” (co-written with Hughie Thomasson and Harvey Dalton Arnold) state their mission with clarity and rock out. Aided by Johnny Sandlin’s bright production, “In The Eye of the Storm” offers a way out. Let’s hope the Outlaws will continue to work this hard at improvement and avoiding stagnation.

THE OUTLAWS DISCOGRAPHY:

1975 The Outlaws
1976 Lady in Waiting
1977 Hurry Sundown
1978 Bring it Back Alive
1978 Playin’ to Win
1979 In the Eye of the Storm
1980 Ghost Riders
1982 Los Hombres Malo
1986 Soldiers of Fortune
1993 Hittin’ The Road
1994 Diablo Canyon
1999 So Low

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OUTLAWS FINE ART AMERICA IMAGES BY BEN UPHAM
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OUTLAWS PHOTOS BY BEN UPHAM